quote:

---

Originally posted by John Walsh:
If I had my way, (snip)A new Kineton PK60D is about $8000 to $10,000 (projector only.)

---

First of all, let me thank everyone for responding! Wow. Lots of good information here.

John,

You are correct in your forward thinking about future formats; we will probably need to have that option. And, you are also correct in noting that the projectors will probably not be run on the same basis as theatrical projection systems, but that remains to be seen.

I am investigating projection equipment for two booths; one set for the main theater facility, which will be a common gathering theater for the Film Center and one set for the Laboratory Quality Control screening room.

A real problem I have is in anticipating just what will be screened in the first room. A bit o' history as explanation:

The LOC is attempting to gather it's widely flung motion picture collections into one facility. As you may, or may not know, the LOC maintains the United States Copyright Collection as well as the (for lack of a better term on my part) "general" film collection.

The LOC has maintained Nitrate vaults and their Motion Picture Preservation Laboratory in Dayton, OH since about 1982. Safety holdings have been deposited in Washington, D.C. and in the greater D.C. area in scattered collections in Government storage areas in Military bases and so on. Most storage is remote and hard to access. We hope this move to Culpepper, VA. will allow the LOC to consolidate our holdings and allow for better care and access for all collections that make-up the whole.

The lab in Dayton, (where I am currently) is strictly a B&W 35mm and 16mm facility. That is, the end product is 35mm or 16mm B&W. We do copy non-standard formats like 28mm and paper prints to modern stocks of either the 35mm or 16mm gauges.

The fact that the #1 screening room might possibly be dealing with the Copyright Collection, complicates the issue substantially. The formats in this collection undoubtedly span the entire range of gauges known to man (at least in safety format).

The #2 screening room is complicated by the fact that it may be part of a more comprehensive soundtrack restoration facility (in addition to being a Quality Control screening booth for the lab); but that remains to be determined.

The possibility of Nitrate screenings in the #1 booth are rare, but possible and in #2 almost certainly never.
Anyone tearing their hair out yet? ;-)

John, the center is being built in an unused Federal Reserve Gold Bullion Storage facility built into the side of a mountain (more like a hill).

As for $$$ we have to spend, I have to assume we will get the money we need and plan on that basis, otherwise we shoot ourselves in the foot. I can always cutback, but you can't "cut-ahead"; as anyone knows can happen in these "pie-in-the-sky" proposals.

I again thank everyone for his or her posts, and ask for patience in my responding.

------------------
Frank Wylie
Laboratory Supervisor
Library of Congress
Motion Picture Preservation Laboratory

quote:

---

Originally posted by Andy Davis:
Don't forget the Film-Guard!

---

Andy,

We are currently awaiting documentation on Film Guard to begin evaluation of this product to see if it can fit into our program in any capacity.

We are happy to evaluate new products that may help us in our quest to preserve and protect the Nation's Film Heritage.

Thanks

------------------
Frank Wylie
Laboratory Supervisor
Library of Congress
Motion Picture Preservation Laboratory

quote:

---

Originally posted by Brad Miller:
Yes, if you have the bucks Kinoton seems to be the choice (even though I've never had the pleasure of using one yet).

---

Brad,

I tend to lean toward the Kinoton Projectors for the #2 Booth, although I am open to all suggestions.

Anyone had any experience with the FP 38 in a sound reinforcement/recording studio? I wonder if the Time Code interface could be spit between the studio remote control and the machine interface between the projectors and a digital sound editing workstation?

quote:

---

Originally posted by John Roach:
This has nothing to do with projection equipment, but I have heard that the library of congress will swap safety film copies of nitrate prints they don't have. Anyway, I tried to contact the library of LoC in dayton, And got a form email. A real number or address would be appreciated.

---

John,

Try contacting Cooper Graham (ccgr@loc.gov) and explain what you have to him and what you would like. Mr. Graham will be able to fill you in on the policies for donation of film elements and what can be supplied in return for the donation.

I hope this helps.

------------------
Frank Wylie
Laboratory Supervisor
Library of Congress
Motion Picture Preservation Laboratory

quote:

---

Originally posted by Brad Miller:
I don't think most archives use ANYTHING in the way of film cleaning solutions on their prints, for even something that's been on the market for 20 years "could" start showing some form of damage. FilmGuard has been in testing for 10 years with 10 year old coated prints still perfect to this day, but for something like the Library of Congress, that's just not long enough.

---

Brad,

We use Lipsner Smith cleaning machines with both perchloroethylene (safety and nitrate) and isopropranol Alcohol (safety only).

You are right in stating that no archive prints (at the present time) are treated with any type of preservative, but we are open to testing.

Thanks.

------------------
Frank Wylie
Laboratory Supervisor
Library of Congress
Motion Picture Preservation Laboratory

quote:

---

Originally posted by Brad Miller:
If you go the AA2 route, just make damn sure the exciter shuts down when the motor stops or you will blister your film from it.

---

Thanks Brad.

That's important to know.

------------------
Frank Wylie
Laboratory Supervisor
Library of Congress
Motion Picture Preservation Laboratory

quote:

---

Originally posted by Pat Moore:
Just a note of caution to all;
When you say "archival", is there any intention of running nitrate prints? None of the machines mentioned can do that. Better to keep the XL's and find the proper (snip)Another note: some archival prints might be foxhole sprockets -- VKF won't run them. Pat

---

Pat,

After phone consultation with my boss, I am assured we will need to run nitrate in the main screening booth (#1 theater).
Now the problem can be defined (at least for the #1 booth)as:

Need to project 16mm, 35mm (all aspect ratios and sound formats) and 70mm, as well as be nitrate safe. Oh boy.

In addition, like most archives, we will NOT be using a platter system if at all possible. In fact, you can almost bet there won't be a platter in the booth.

Was 70mm ever run on the change-over system? I assume so.

An added complication will be sound readers: variable density (all variations on that theme, push-pull, etc.), Variable Area (unilateral, bilateral, etc.), magnetic (clueless here), dye tracks, digital, and ?

I have a headache.

At least we don't have to rig-up for any mechanical playback like the embossed tracks of the early 30's! :-)

------------------
Frank Wylie
Laboratory Supervisor
Library of Congress
Motion Picture Preservation Laboratory

 |  IP: Logged

One reason I did not suggest Centurys is they do not have a film trip device above the gate, to detect a film break above the intermittent. A AA-II also detects problems with the take-up reel. This is done without adding failsafe rollers. (In my opinion, additional rollers and sprockets are bad for this application.) Although these features could be added, a AA-II was designed from the start with these features.

A AA-II is better documented than most other projectors, with good quality photographs. Actual specifications (tolerences, torque, pressure, dimensions, etc.) are given, so when there's no one left alive who even knows what "film" is, the projectors can still be serviced.

There is no way one projector could run all of the film formats that are stored at the LoC, but a AA-II could run many. It might be possible to fabricate parts to extend the use of the machine. For example, it might be possible to have custom-made gates, sprockets and rollers made to run Fearless 65mm, CinemaScope 55, or Grandeur. A motor modified for 18 or 16fps- or even a totally variable rate. A tach-wheel could be added to provide feedback for speed control, or to interlock sound equipment. While not cheap, it might be cheaper than another projector (with unknown chararistics.)

 |  IP: Logged

 |  IP: Logged

 |  IP: Logged

Oh yes. This is how I always run my 70mm shows. It's a wonderful feeling to run "Ben Hur" with 7 change-overs and an intermission (my recollection is 9 reels, but I could be wrong), without a platter in sight.

I _love_ 70mm.

quote:

---

Originally posted by Brad Miller:
Gee Frank, you've got a tough one here! The only thing that hasn't been pointed out is "if" you go with different pairs of projectors and change them out for odd formats, the AA2 is virtually impossible to move, so another machine would be desirable.

Also, on failsafe rollers...USE THEM! Set up properly they do not cause film damage and having a takeup belt break and dump a one of a kind film all over the floor would not be acceptable for your use.

---

I seem to remember seeing a picture of the AA2; monster of a machine! I see your point there.

The failsafes would certainly be required, although, the LOC has a policy of NEVER projecting a one-of-a-kind print until copied, but then again, at the current price of printing a feature, it is practically one-of-a-kind anyway!

If we ever get into printing 70mm, I can hardly wait to hoist a roll of rawstock onto the printer in the dark! Oh my achin' back.